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FINE ARTS IN 1891. 



Henry Bisbing. Henri Eugene le Sidauer, Vin- 

 cent Chevilliard, Louis Paul Dessar, Maurice 

 Henri Orange, Emile Noirot, Albert Rigolot, 

 Leopold Francois Kowalsky, Charles Henri Fran- 

 zini d'Issoncourt, Edouard Louis Bisson, Louis 

 Grier, Georges Antonio Lopisgich, Henri Royer, 

 Armand Guery, Pierre Ballut, Frank Brangwyn, 

 Basile Lemeunier, Pierre Bellet, Gaston Me- 

 lingue,Lucien Berthault, GuillaumeRomain Fou- 

 ace, Louis Chalon, Edmond Borchard, Harry Van 

 der Weyden, Anshelm Leonard Schultzberg, An- 

 dre Antoine Crochepierre, Etienne Csok, Jac- 

 quesson de la Chevreuse, Tancrede Bastet, 'Mile. 

 Caroline Baily (miniature). 



Section of sculpture : Medal of honor awarded 

 to Alfred Boucher for his marble statue " A la 

 Terre." First-class medals: Antoine Gardet 

 (deceased), for his marble group " Sommeil de 

 1'Enfant Jesus," and Edouard Pepin, for his al- 

 legorical group in plaster entitled " Le Joug." 

 Second-class medals: Stanislas Lami, marble 

 statue " Premiere Faute " ; Jean Ernest Boutel- 

 lier, plaster group " Nymphe Victorieuse " ; Fred- 

 erick MacMonnies, plaster statue "Nathan 

 Hale " ; Andre d'Houdain, marble statue " Faun " 

 and plaster group " Repos de Diane " ; Benoit Lu- 

 cien Hercule, bronze statue " Turenne Enfant" 

 and plaster statue " Naiade " ; Edgard Henri 

 Boutry, bas-relief " L'Amour et la Folie " and 

 plaster statue " Chasseur " ; Mile. Renee Mar- 

 cel le Lancelot, bas-relief "La Famille"; Felix 

 Emile Gaulard, " L'Ideal." Third-class medals : 

 Augustin Peene, Alexandre Anglade, Corneille 

 Henri Theunissen, Leon Joseph Chavalliaud, 

 Leon Julien Deschamps, Leon Grandin, Roger 

 Bloche, Rene Rozet, Paul Aubert, Carlos Lagar- 

 rigue, Constant Demetrius Pauchard (engraving 

 on precious stones). 



Section of engraving: No medal of honor 

 awarded, First-class medals Etchings: Adolphe 

 Alphonse Gery-Bichard (engravings for national 

 edition of works of Victor Hugo), Emile Ar- 

 mand Mathey-Doret ("Rubens peint par lui- 

 meme ") ; Burin : Alfred Joseph Annedouche 

 (" Vierge," after Bouguereau). Second-class med- 

 als Burin : Jules Massard ; Wood : Mme. Mar- 

 guerite Jacob Bazin ; Lithography : Ernest Guil- 

 len. Third-class medals Etching: Alexandre 

 Gravier, Charles Andre Coppicr, Victor Louis 

 Focillon ; Wood : Pierre Gusman, Henri Dochy ; 

 Lithography : Jean Joseph Pelissier, Alphonse 

 Audebert. 



Section of architecture : No medal of honor. 

 First-class medals : Pierre Andre, Raymond Bar- 

 baud. Second-class medals : Charles Nicolas 

 Normand, Maurice Yvon, Antonin Durand, Vic- 

 tor Dutocq, Saint- Anne Auguste Lauzier. Third- 

 class medals : Georges Chedanne, Marie Marcel 

 Rouillard, Marius Pauline, Paul Dusart, Ernest 

 Victor Charpentier-Bosio. 



The picture that attracted most attention at 

 the Salon this year was " La Mort de Babylone " 

 of Georges Rochegrosse, an immense canvas 

 representing the final episode in Belshazzar's 

 feast. In a vast hall, fantastically decorated in 

 the Chaldeo - Assyrian style, men and women, 

 some nude, some half-clad, lie, stupefied by ex- 

 cess, amid the remains of a feast, lighted by the 

 still burning torches. At the left, high up on a 

 platform with many steps, stands the king, look- 

 ing aghast at the sight before him, for in the 



background, through an immense open arch, 

 streams the morning light, and with it the mail- 

 clad Persians who are to destroy him and his 

 city. Though strongly painted, the work is 

 somewhat theatrical in treatment, and wanting 

 in unity. The eye is rather attracted by the nude 

 women lying in the foreground, amid glittering 

 stuffs and flowers, than by the composition as a 

 whole. The work is said to have occupied the 

 artist three years. 



J. P. Laurens's "La Voute d'Acier" is another 

 immense canvas ordered for the Hotel de Ville. 

 It represents the arrival of Louis XVI at the 

 Hotel de Ville, July 17, 1789. The king, who 

 has just left his coach, is received at the foot of 

 the steps by Bailly, who offers him a tricolored 

 cockade, and by Lafayette. The sheriffs, ranged 

 on the stairs, form with their swords the " vault 

 of steel," under which the king is to pass. In 

 the background is seen the crowd kept back by 

 the National Guard. 



Paul Jean Gervais has illustrated on a large 

 canvas a Christian legend, " Les Saintes-Maries," 

 who, sent adrift in a disabled vessel, are mirac- 

 ulously stranded on the shores of the Proven9al 

 marshes. Three female figures, in modest nu- 

 dity, are in a wreck in the reeds one standing in 

 the prow, another kneeling, a third stepping upon 

 the flat shore. A brilliant sky with the rising 

 sun gives a warm glow to the figures, which are 

 chastely modeled. 



Ulpiano Checa, whose " Chariot Race " was so 

 popular last year, contributed another picture 

 full of life and energy, entitled "Les Huns At- 

 tila." A horde of savage warriors, led by their 

 chief, are riding furiously along a dusty road, 

 with a range of purple mountains in the back- 

 ground. 



Louis Chalon's "Mort de Sardanapale" is 

 nearly as large as Rochegrosse's immense canvas, 

 but the subject is not treated with equal ability. 

 Sardanapalus, seated on a golden throne on the 

 summit of a pile of all his riches, including his 

 women clothed in splendid garments and hung 

 with jewels, calmly awaits his fate, while eunuchs 

 below apply torches to the pyre. 



Leon Bonnat's " La Jeunesse de Samson " 

 shows a nude youthful athlete struggling at the 

 mouth of a cavern with a lion, whose jaws he is 

 endeavoring to pull asunder. 



Jules Breton's " Le Pardon de Kergoat " is an 

 interesting picture of a procession of young girls 

 and women, headed by old Brittany peasants, 

 with flowing locks, bearing tapers, going toward 

 a church half hidden in trees. In the foreground 

 are mendicants kneeling. " L'Ete," another con- 

 tribution, represents a peasant woman with bare 

 arms seated on the rrass at the edge of a corn- 

 field. 



Bouguereau's " Premiers Bijoux " depicts a 

 peasant youth offering a maiden ripe cherries, 

 out of which she makes ear-rings. 



Gerome's " Lion aux Agnets " is a lion in the 

 desert on the watch for prey, upon which he is 

 about to spring. 



Hcnner contributed a " Pieta " and a " Pleu- 

 reuse " in his usual style and strongly reminiscent 

 of earlier works his' " Dead Christ " and " Mag- 

 dalen." 



Noteworthy among the sculptures was the 

 late Henri Chapu's final exhibit, "Mme. la 



